CHAPTER VI GITANJALI ONCE AGAIN When William Radice began to translate the poems of Tagore for his Penguin Selected Poems ( 1985) in the late 1970s, he wanted to forget all about Gitanjali, the crowning glory of 'the English Tagore' and decided not to include in his selection any poems from this anthology. As a young translator and Tagore scholar from SOAS, Radice has taken a considerable amount of time to come to terms with Gitanjali, Tagore' s most famous book which helped him to make "his poetic thought ... a part of the literature of the West" (Tagore. 301 ). The main reason for his initial rejection of Gitanjali poems for his selection was that he wanted to "establish his [Tagore's] reputation and credibility as [a] great poet in Bengali, with an output far more complex and variegated than one could tell from his own English translations (Radice 279). His selection included only one poem from the English Gitanjali , 'Arrival' [Agaman], which was the first Tagore poem he translated, though he did not at the time realize it was from Gitanjali ( No.5!), because it comes not from the Bengali book of that name but from Kheya ['The Ferry-Boat', 1906]. Another reason was his reluctance to include songs in his selection and the majority of the poems of Tagore' s Gitanjali are actually songs (Ibid). Thirdly, Radice believes that songs are untranslatable, 'I do not believe you can translate songs, and I have not tried to translate songs in this book' (Radice28). It was because of the untranslatability of songs that he did not take up any 'song­ poem' from Tagore's Gitanjali (1912) for inclusion in his Selected Poems of Tagore as translation policy. But he was not unaware of the fact that 'Tagore's genius showed itself most naturally and faultlessly in his songs' (Ibid 30) and his songs were for him, to quote his own words, his C"t'l~ ~. the buck for his last journey ( Tagorel7). But this aspect of Tagore's genius remained unrepresented in his own translations; for he deliberately kept his songs outside the purview of his selection. 131 Radice's ever growing engagement with Rabindrasangit, Tagore's songs, over the years, drew him nearer to Tagore's Gitanjali and he came to realize its importance in Tagore's 'English career'. Although his Gitanjali poems vary in 'literary quality', they represent, at their best, "a very considerable creative achievement, an expression of real imagination and inventiveness in a language that was not primarily his own .... they can work when read aloud: the sensitive ear of a mahakabi is ever active in them, in their rhythms and cadences and word-painting" (Radice 279). Thus Radice came to discover, albeit belatedly, the true importance of Tagore's Gitanjali (1912) as the magnum opus of a mahakabi, a great poet, more than two decades after the publication of his Selected Poems (1985) of Rabindranath Tagore. But it is fascinating to distinguish his English version from the Bengali original in order to understand 'the subtle changes or cuts or additions' that have gone into the rendering of Gitanjali making it "a miracle of translation" (Bosel5). Radice's belated realization of the importance of Tagore's Gitanjali made him aware of the existence of 'two Gitanjalis', ---the original Bengali Gitanjali ( 1910) and its English translation entitled Gitanjali: Song Offerings (1912) and he came to discover a lot of differences between them; for the Bengali Gitanjali ( 1910) is not the same in its form and content as the English one. The former is an anthology of 157 lyric poems in Bengali, many of which are known as songs whereas the latter is the famous English Gitanjali containing 103 prose-poems in translation, with W. B. Yeats's famous and impassioned introduction. With its first publication by India Society in November I9I2, the English Gitanjali created an unprecedented sensation among the leading English literary persons of the time. Thomas Sturge Moore was so moved by the mesmerizing power of the Gitanjali poems that he recommended the name of Tagore to the Swedish Academy and he was awarded the Nobel Prize for literature in 1913. The poems that Tagore translated on the eve of his I 9 I 2 journey to England finally became his English Gitanjali (Song-Offerings). They were translated from 'a motley collection of his poems, not all from the Bengali Gitanjali as is the popular notion' (DasGupta 6 1). He takes 53 poems from the Bengali Gitanjali, and the rest from nine other books of his poetry, most of which belong to 'the devotional genre of his lyrics'( Ibid 6I). Although Tagore's Gitanjali 132 (1912) has been widely acclaimed in the West as an anthology of 'mystic' poems, it actually contains a variety of poems that often remain concealed not only by the random order of the text but also by Tagore's rendering of the poems into the uniform style of poetic prose. Anctr/ Gide, the French translator of Tagore, was perhaps the first to identify the 'diversity' of Gitanjali poems in the Introduction to his translation. Concurring with Gide's views Radice seems to have classified Gitanjali into three types of poems: songs, sonnets and ballads. They are the 'song-like poems' of the Gitanjali phase proper, the intricate, sensuous and austere sonnets from Naibedya ('Offerings' 1901) and the lighter ballad-like poems from Kheya ('The Ferry', 1906), of which Agaman is a typical example. According to Radice, any new translator of Gitanjali today would have to face two options. Either he or she would have to do a new translation of the Bengali Gitanjali (191 0) or a retranslation of all the poems from the English Gitanjali (1912). The first option has already been adopted by Brother James Talarovic in 1983 and by Joe Winter in 1998. The first poem was published by University Press Limited in Dhaka and republished as Show Yourself to My Soul: A New Translation of Gitanjali (Sorin Books, Notre Dame, Indiana, 2002). Radice, as he confesses, has chosen a more 'audacious' option than James Talarovic or Joe Winter of translating afresh the poems of the English Gitanjali when he was given by Penguin India the assignment of rendering them on the occasion of Tagore's 150'h birth anniversary (Radice p.xvii). His Gitanjali (2011), published from Penguin India, is a retranslation of all the poems contained in what is called the Rothenstein manuscript. While translating afresh Gitanjali Radice has to grapple with the 'iconic' status of Tagore's Gitanjali (1912) in India and an inevitable comparison with his translation invariably comes into our mind as we go through his rendering (2011). Moreover, Gitanjali ---being a unique combination of poetry and song­ -- posed a difficult challenge for Radice and he tackled it confidently with moderate success. In his essay "The Challenge of Translating Tagore" (2012) Radice says, "[... ] I tackled this challenge by looking afresh at Tagore's own translation as well as doing a new one of my own. My book contains an entirely new text of Tagore's English Gitanjali, based on his manuscript, and giving, I hope, a very different impression from the standard text as introduced and edited in 1912 by W.B. Yeats" (emphasis added) (Radice 458). 133 Tagore's Gitanjali (1912) contains three types of poems representing a uniform style in poetic prose whereas Radice tries his best to reflect the three styles clearly and distinctly in his new translation. Consequently, there is a'diversity' in style which distinguishes his Gitanjali from Tagore's anthology. In his Introduction to Gitanjali (201 1) Radice dwells on the 'three styles' that he has tried to capture and carry across in his own rendering from Tagore's original Gitanjali (1910). While translating poems for his Selected Poems (1985) of Tagore, Radice steered clear of such 'poems that are songs', concentrating exclusively on the rendering of non-Gitanjali poems only. In his attempt to make a fresh translation of Tagore's Gitanjali, Radice adopts a new translation method for the 'song-poems' of the Gitanjali phase --- poems that convey the "intimate combinations of words and melody" characteristic of songs (Radice 28). He seems to have learnt with time that "it is through his songs that Tagore speaks, as a poet, to his widest audience in Bengal" (Dyson 41) and that it is "in his songs that Tagore is nearest to his people and culture" (Radice 30). There is no denying the fact that Tagore is "great in poetry and equally great in songs" (Mukhelji 185). According to Buddhadeva Bose, his songs too can claim a prominent place among his best poems (Bose 248). This is perhaps the reason why Tagore believes that his greatest contribution to his countrymen is his songs. In "The Religion of an Artist" he declares, "I do not hesitate to say that my songs have found their place in the heart of my land ... and that the folk of the future, in days of joy or sorrow or festival, will have to sing them" (Das 687). Consequently, his genius as a poet would remain incomplete if his songs are not translated in English for the West. This realization seems to have prepared Radice inwardly for the translation of Tagore's 1 'song-poems' of Gitanjali that he had once deliberately rejected. It was during the 150 h birth anniversary of Tagore that Penguin India approached him with the proposal to do a fresh translation of Tagore's Gitanjali in the changed scenario of the 21" century. This proposal seems to have inspired him to undertake a poetic quest afresh for Gitanjali which culminated in his startling 'discovery' that its published text was in many respects 'a betrayal of what Tagore originally had in mind' (Radice !vii).